Comic Book Studies

Nel saggio si dimostra quale sia stata la fonte originaria della speculazione sul ridicolo e sul comico in Leopardi, ovvero l'opera di Paolo Costa, e come la retorica sul ridicolo sia stata percepita in Leopardi anteriormente alla stesura delle "Operette morali".

With the release of ‘Outlaw King’, the upcoming film ‘Robert the Bruce’ and the long shadow cast by ‘Braveheart’, the wars for Scottish independence of the fourteenth century are being re-fought in modern popular culture, just as they were later in the middle ages, according to Iain MacInnes.

The purpose of this essay is to reconstruct the comics controversy in Germany in the 1950s and 1960s, paying special attention to the debate over effects, which was paramount. A guiding principle of this investigation is to relate the arguments of the comics debate to a broader political, social, and cultural context. The main source of information are selected articles published in the German press at that time.

Bringing together interdisciplinary leaders in methodology and arts-based research (ABR), this comprehensive handbook explores the synergies between artistic and research practices and addresses issues in designing, implementing, evaluating, and publishing ABR studies. Coverage includes the full range of ABR genres, including those based in literature (such as narrative and poetic inquiry); performance (music, dance, playbuilding); visual arts (drawing and painting, collage, installation art, comics); and audiovisual and multimethod approaches. Each genre is described in detail and brought to life with robust research examples. Team approaches, ethics, and public scholarship are discussed, as are innovative ways that ABR is used within creative arts therapies, psychology, education, sociology, health sciences, business, and other disciplines.

Batman ha sido objeto de estudio en múltiples ocasiones y desde distintos prismas. La dimensionalidad del icónico superhéroe ha trascendido más allá del papel, de los cómics y las novelas gráficas que narraban las historias del Caballero Oscuro desde que Bob Kane y Bill Finger lo concibieran en 1939. La presencia de Batman en otras plataformas de consumo de masas ha democratizado y expandido el conocimiento del ‘bat’-universo hasta formar parte de nuestro imaginario social.

Esta expansión ha llevado al murciélago a la televisión en diferentes épocas de la historia en seriales de gran popularidad, ha copado las listas de cómics más vendidos y ha formado parte de exitosas sagas cinematográficas y, como todo producto de masas, ha llegado a medios que parecían alejados inicialmente del universo del superhéroe, como el videojuego. Tal es la popularidad y trascendencia de Batman que se ha producido un fenómeno de creación y expansión de un universo transmediático conocido como Arkhamverse en el cual se entremezcla la narrativa serial del cómic y la narrativa interactiva del videojuego para dar paso a una historia narrada en 5 actos.

Las narraciones transmedia han sido objeto de estudio a lo largo de los últimos años. Es interesante observar cómo iconos culturales tales como los superhéroes pueden cohabitar en distintos escenarios y medios sin perder su significado, sino que se produce un todo lo contrario, estas plataformas sirven para expandir su universo. Estas narraciones reavivan la discusión sobre la capacidad de construir universos narrativos complejos a través de la dispersión transmedial (Murray, 1997).

En este artículo se pretende responder a la capacidad transmediática del Arkhamverse a través del estudio de la trilogía de videojuegos de Batman: Arkham Asylum (2009), Arkham City (2011) y Arkham Knight (2015) y los cómics creados ex profeso para complementar las elipsis producidas entre cada uno de los títulos para crear una narrativa lineal multiplataforma. Nos apoyaremos en los trabajos de Scolari y Jenkins sobre el concepto de las narrativas transmedia y analizaremos la capacidad narrativa que tienen tanto la novela gráfica y el videojuego a partir del concepto de macrodiseño narrativo.

This article focuses on visual adaptation strategies and practices in the publication of foreign comics. It first defines visual adaptation in the context of related terms such as audiovisual translation (AVT) and localization. Then, it provides a typology of visual adaptation strategies, illustrated with examples taken from a variety of comics. This is followed by a description of visual adaptation practices in comics translation industry as concerns two the comic types which have the largest volume of foreign editions, American superhero comics and Japanese manga. In the case of manga translation, after an initial stage in which Japanese comics were heavily adapted lo local comics visual conventions, market pressure in the form of fan base expectations has met with economic concerns by the publishers. Foreignization strategies (i.e. little visual adaptation) have now superseded domestication strategies (i.e. much visual adaptation) as the general norm for localized manga. In the c...

El conocido por algunos teóricos y editores como boom del cómic adulto, fue el último momento en que el cómic pensado para quiosco tuvo un carácter masivo en España, gracias a revistas como El Víbora, Cairo o 1984. Durante las décadas de los años setenta y ochenta estas publicaciones fueron la base del sistema editorial, además de «medio de vida y escuela», en palabras de Max, para muchos autores.

Entre la segunda mitad de los años ochenta y comienzos de los noventa, la revista como formato desaparece progresivamente. El entramado de edición en el que podían publicar los creadores españoles cambia y, tras una apuesta efímera por el comic-book, pasa a basarse principalmente en el formato libro y en la idea de novela gráfica. Muchos historietistas, sin los ingresos estables que proporcionan las revistas, dejan el cómic en beneficio de otras artes como la pintura, el audiovisual, la ilustración o el diseño gráfico.

Las voces reunidas en el libro narran este apasionante momento de cambio, vital para la historia del cómic y, por extensión, para la historia del arte en España, en un proceso compartido parcialmente a nivel internacional. Se crea una visión amplia, en la que se encuentran representadas desde las autoras y autores del periodo, hasta autoeditores, editores y otros agentes clave en el mercado, como las librerías especializadas. Los protagonistas de la época se sinceran con el lector en lo que constituye la mayor reunión de testimonios relativos al cómic español.

Reprenant partiellement mon mémoire de master II, ce dossier aborde l'histoire des éditions Lug, principal importateur des comics Marvel entre 1969 et 1989 en France, évoquant à la fois la biographie de ses membres fondateurs, la pression de la loi de contrôle de 1949 et les méthodes employés pour la traduction et l'adaptation.

In an article about Chris Marker's 1962 film, La Jetée, Jake Hinkson writes about the nature of memory that " the past is never as simple as we wish it to be. To return to it is to realize that we never understood it3 ". Seeing the past as a contested, confused terrain, as Hinkson suggests, is perhaps one way in which the reader can approach Kristen Radtke's Imagine Wanting Only This. With its focus on loss and the recovery of memory, Radtke's work of 'graphic non-fiction' navigates the multiple sub-genres of graphic novel, narrative, and memoir. Like most other graphic narratives, it invites the viewer-reader to look again, both in terms of time and space. This paper will seek to examine the ways in which Radtke works through the formal limitations and freedoms offered by the graphic, or 'comic' form, and her use of documents, archives, and photographic images within this form as a formal disruption4. I shall also study the implications of Radtke's decision to use photography, or photo-realistic drawn images, with relation to her work as an exploration of the past, as well as an archival project.

Communication pour le colloque international "Traduire, un engagement politique" organisé par le CET à l'université Paris Diderot du 29 novembre au 1 décembre 2018.

La traduction des comics Marvel par les éditions Lug: Un engagement dans le compromis.

Entre 1969 et 1989, les éditions Lug, dirigées par Marcel Navarro et Alban puis Claude Vistel ont publié certaines des séries les plus emblématiques des comics Marvel en France : Spider-Man, X-Men, Iron Man, Fantastic Four mais aussi Star Wars. Si ce sont bien les revues anthologiques de Lug qui ont installé les personnages Marvel dans l'imaginaire français, influant encore sur le mode de publication actuel et la traduction des comics ainsi que des films dérivés, il apparaît que le choix de traduire est fait dans une situation de compromis complexe. L'acte même de traduire constitue pour les éditeurs un acte politique et idéologique.

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The Translation of Marvel Comic Books by Éditions Lug : A Commitment in Compromise

Between 1969 and 1989, the éditions Lug, directed by Marcel Navarro and Alban Vistel, then his daughter Claude, published some of the most important work of Marvel in France: Spider­Man, X-Men, Fantastic Four, Iron Man, the Star Wars comic book adaptation...  Those publications, in their form, determined how comic books are still published these days and how they are translated. It appears the choice to translate is the result of a complex compromise. The act of translating, in itself, is a political and ideological choice for the editors. Indeed, given the context inducted by the 1949 law regarding publishing for adolescents, Navarro and Vistel show a kind of resistance against a rule perceived as iniquitous. For the two editors, former member of the French Resistance, their obstination to publish Marvel comic books  is a battle with well perceived dangers. Beyond the economic risk, the trauma of Pierre Mouchot's death in 1967 after being harassed by censors, is a motivation in this fight. We'll show how they had to follow narrow path, having to balance the will of the law and the respect of the published material and the readers.

In Superman #216 (1969), Superman intervened in the Vietnam War. Until this point, DC Comics had kept Superman away from any of America's wars in comic books. During the Second World War, Superman urged Americans to buy war bonds on the cover of comic books, but within the comics the closest he came to fighting was breaking up a spy network. DC had Superman go to Vietnam in part as a response to servicemen's letters requesting his presence and indeed used this as a plot point within the story, with servicemen writing to the Daily Planet asking why Superman was not helping. Superman's intervention occurred at a time when American public opinion had turned against the war, especially after the Tet Offensive in early 1968. The article discusses how DC handled these ethical and moral issues and the reaction of readers. The Vietnam War, the social upheaval of the 1960s and a shift in audience to slightly older readers which made the comic less of a children's medium forced DC to break out of the small moral world they had created for Superman in which stasis and charity defined his character.

Reviewed August 2014, updated October 2015
To commemorate his 75th year in 2013, this is the fascinating true story about the "birthplace" and "parents" of Superman. Not Krypton. Not Jor-el and Lara. Not even Jonathan and Martha. But the Depression-era team of writer Jerry Siegel and illustrator Joe Shuster in the old Jewish village of Glenville in Cleveland, Ohio. Super-interesting, leading to my visit to their homes during my Summer 2014 vacation.

CuCo, Cuadernos de cómic número 1. Septiembre de 2013 222 CuCoEnsayo Entre el sueño y la muerte: las tradiciones meditativas y Vapor de Max JOSEP OLIVER Josep Oliver (1979) es licenciado en Filología Hispánica y actualmente termina un Máster en Lengua y Literatura Modernas. Es divulgador de cómic en diversos medios, entre ellos el periódico Ultima Hora. Trabaja como profesor de Lengua y Literatura en Secundaria. También es el cocreador y guionista del cómic El joven Lovecraft. El Camino claro parece oscuro. El camino progresivo parece regresivo. La virtud establecida parece harapienta. La gran Forma carece de forma. El Tao está oculto y no tiene nombre, pero solo él sabe cómo ayudar y completar. Lao Tse, Tao Te King (XLI) Quien desee ver cómo es en verdad su mente, debe liberarse de todos los pensamientos; entonces la verá como un vacío o el color del cielo.

Time traveling / time travel in comic strips (in Dutch) [ ‘Tijd, continuïteit en teletijd in strip - Het fenomeen tijdmachine’ ]
Published in: Kees Ribbens & Rik Sanders, Getekende tijd. Wisselwerking tussen geschiedenis en strips (Utrecht 2006)
I.v.m. tijdreizen in stripverhalen

Winston Churchill once said, "History is written by the victors." Or maybe he didn't. The quote is often attributed to him, despite the fact that it appears in other print sources prior to World War II and Churchill's appointment to the office of British Prime Minister. However, apocryphal it may be, the attribution of the quote to Churchill in many ways illustrates the point that he-or whoever the originator is-was trying to make. We view war through the historical lens of the victorious side, or at the very least through the lens of our current cultural ideology applied to the conflict of the past. The majority of our memoirs of World War II focus on the lives and actions of soldiers in the Allied Forces and the civilian victims of the Holocaust. Unsurprisingly, given the atrocities committed by the Axis, relatively few narratives focus on the experiences of the participants on the losing side. However, war is a complicated subject and regardless of the horrors perpetrated by the Nazis, these participants were human beings with very real fears, emotions and lives. Two recent graphic novels published by Dead Reckoning attempt to explore these lives and do the difficult work of humanizing them without valorizing them.

Since comics’ inception in the mid-1930s, the comics page has developed from a means of processing information to a stand alone art object in itself.  However, this evolution has not been determined solely by the innovative creator; rather, this paper will examine, through the application of Marxist and Situationist theory, the ways in which changing modes of production have set the means by which creators present their stories and, thus, the way comic books are consumed as a text. 

From the economy of Golden Age stories (as well as the cheapness and easy disposability of the text itself) to the present emphasis on the trade paperback (“writing for the trade”), how have production standards created a certain kind of consumer?  What issues do “decompression” raise for the visual consumer of the comics page?  How do creators like Frank Miller, Alan Moore and Dave Gibbons (and others) exploit the structures of production to allow for innovative ways of visually consuming the comics page in works like Ronin and Watchmen? 

Through a study of comic books pulled from the 1930s to the present, this paper will examine the structures that underlie comics innovation.

Sport annually mobilizes millions of people across Europe: as practitioners in a wide variety of competitive, educational, or recreational contexts, and as spectators, who are physically present or following events through the mass media. This book presents original research into modern sport funded by the Irish Research Council for the Humanities and Social Sciences. Its aim is to examine the distinctive contribution made by this complex phenomenon to the construction of European identities. Attention is focused on sport's social significance, as a set of mass-mediated practices and spectacles giving rise to a network of images, symbols, and discourses. The book seeks to explore, and ultimately to explain, the processes of representation and mediation involved in the sporting construction, and subsequent renegotiation, of local, national, and, increasingly, global identities. It offers a survey of key developments in sporting Europe - from the mid-nineteenth century to the present, and from the Atlantic to the Urals - presenting findings by acknowledged international experts and emerging scholars at the level of individuals, communities, regions, nation-states, and Europe as a whole, in both its geographical and political incarnations. Its focus on representation offers a broadly conceived, and consciously inclusive, approach to issues of 'Europeanness' in modern and contemporary sport.

Richards Reynolds (1992) has described the superhero genre as a modern mythology. He discusses how the genre often reflects the socio-political ideologies of society, and offers Alan Moore’s comic series Watchmen (1986-1987) as a key text which subverts the superhero identity. In Moore’s own words, his work on Watchmen is an application of the Solve of the alchemists’ Solve et Coagula to the superhero genre; the act of taking it apart and examining it (Graydon, 2009). Moore brings superheroes into a “completely new realm” (Kavanagh, 2000) by placing them into the real world and giving them “sexual neuroses, bad breath and anxiety disorders” (Leith, 2010). This creates grounds for rich reflection on the intersection between superheroes and real-world issues of identity and ideological power. The following will be a discussion and evaluation of the relevant literature around identity and ideology in Watchmen.

Architecture monograph engages with production and marketing instruments to exist within the system of our image-driven society. Challenging its conventional understanding, this article aims to uncover the contemporary monograph as a site of plurality, heterogeneity, divergence, and fragmentation. The paper forms a critical reading of two books in particular: Content (2004) by the Office for Metropolitan Architecture (OMA), led by the Dutch architect Rem Koolhaas, and Yes is More: An Archicomic on Architectural Evolution (2009) by the Danish practice Bjarke Ingels Group (BIG).

In 1999, Gail Simone circulated a list of female comic book
characters who had been "depowered, raped, or cut up and stuck in the refrigerator," sparking a dialogue about gender and comic book culture that continues today. In particular, 2011 and 2012 have been marked by an exponential growth in conversations and criticisms surrounding the state of women in comics, both as producers and consumers. Through a survey of how scholars have gendered comic book readership, an overview of recent incidents that have renewed concern about women in comics, and an analysis of one transformative intervention in the wake of these conversations, this essay broadly discusses the relative invisibility of female comic book fans as a market segment and how fangirls are actively striving to become a visible and vocal force within comic book culture. This essay suggests that we are currently witnessing a
transformative moment within comic book industry, comic book fandom, and comic book scholarship, in which gender is one of  the primary axes of change.

A speculative examination of some manifestations of contemporary Horror through the lens of the Zombie; this article considers the relationship between Zombie Apocalypses, Zombies as agents (or not), and wider aspects of genre and theory including comic books and graphic novels, Science Fiction, and Fantasy.   

It surveys multimedia interest in zombies, mash-up novels, alternate universes, and the meetings of zombies with a range of other tropes in diverse narratives.

Full article online; please follow the link to read more.

Un año después de su aparición en Francia durante el 2016 -coincidiendo, apropiadamente, con el centenario de la mentada batalla-, ha llegado a nuestras librerías El último asalto de Jaques Tardi (Valence, 1946), la tercera parte de la saga que el gran dibujante de cómics ha dedicado a lo más crudo de la Primera Mundial y de la que forman parte previa La guerra de las trincheras (1993) y ¡Puta Guerra! (2009) -en français suena más fino-, todas publicadas en España por Norma durante la presente década.

This seminar will introduce students to Muslim American histories and cultures through diverse visual representations of Muslim Americans. Selected pieces of photography and visual art as well as film scenes will raise awareness for stereotypical representations of Muslim Americans, while cultural artifacts produced by Muslim artists will illustrate how those stereotypes can be disrupted. Additionally, this seminar will also cover graphic novels by Muslim American writers: Toufic El Rassi’s "Arab in America" (2007) and G. Willow Wilson’s "Ms. Marvel: No Normal" (2014). Toufic El Rassi’s graphic memoir "Arab in America" addresses his struggles of growing up as a Lebanese immigrant in the United States and his experiences with post-9/11 islamophobia. In contrast to the more realist mode of representation in El Rassi’s work, G. Willow Wilson’s "Ms. Marvel: No
Normal" is the first volume of a superhero comic series that features Muslim Pakistani American teenage protagonist Kamala Khan whose secret superhero identity is shaped by her religious orientation and whose desire to fit into Anglo-American mainstream society is thwarted by her classmates’ xenophobic and islamophobic prejudices. We will pay special attention to the graphic novels’ narrative structure and style as well as to the ethical, social, political, and cultural issues they raise.

Jerusalem is the frontline and a microcosm of the Israeli-Palestinian conflict. In recent years, comic artists have turned their attention to the Middle East, including the ‘Holy City’. Scholars, however, have yet to study how comics engage with life in Jerusalem, in particular the relationships between Arabs and Jews. In this article, I will take on this critical oversight and explore how Mira Friedman’s ‘Independence Day’ (2008), Sarah Glidden’s How to Understand Israel in 60 Days or Less (2010) and Miriam Libicki’s Jobnik!: An American Girl’s Adventures in the Israeli Army (2008) engage with the complicated social situation. The philosopher, Emmanuel Lévinas, has argued that face-to-face encounters are the basis for recognizing the Other as human and for feeling responsibility towards him or her.1 In this article I show that we rarely see the Other’s face in the corpus of the Jewish comic artists I discuss here. Instead, the Arab presence is brought into the texts by way of urban elements such as the Dome of the Rock, media remediations or indistinct, distant figures. This highlights that comics are closely tied into the current situation between Israelis and Palestinians, where fear and separation rule to a level where the Arab Other – whether Christian or Muslim – of the Jews of Jerusalem is almost invisible.

ÖZET
İnsanın görüntü ile kendini anlatma isteği, mağara duvarlarından günümüze birçok değişim geçirmiş ve bu değişimlerin pek çoğuna teknoloji eşlik etmiştir. Değişim, disiplinler arası etkileşime de sebep olmuştur. Bu etkileşim toplumsal ya da teknolojik olduğu kadar, sanat dallarının birbiri arasında da gerçekleşmiştir. Sinemanın diğer sanat dalları ile olan ilişkisi biçim ve içerik bağlamda pek çok kez değerlendirilmiştir. 2018 yılında gösterime giren çizgi roman uyarlaması "Spider-Man: Into the Spider-Verse" filmi ana akım uzun metraj canlandırma filmler arasında kendine has görselliği ile öne çıkmaktadır. Çizgi Romanın anlatım diline ait referanslar filmin temel görsel estetiğini oluşturmaktadır. Bu referanslar, basılı materyalin doğası gereği kullanılan teknikler, matbaa makinelerinden kaynaklı baskı hataları ya da özgün anlatımının bir parçası olarak geliştirilen yansıma sesler, hareket hattı çizgileri gibi görsel yöntemlerin uyarlanması ile filmde yer almaktadırlar. Bu çalışma birçok farklı görsel sanat disiplininin teknik yöntemini kendi içerisinde harmanlamayı başaran canlandırma sinemanın, çizgi roman ile doğrudan bağlantısı olan görsel anlatımını ve filmdeki kullanım biçimini Genette'in metinsel-aşkınlık türleri bağlamında değerlendirmiştir.

ABSTRACT
The desire of the person to express himself with the image has undergone many changes from the cave walls to the present day and many of these changes have been accompanied by technology. Change also caused interdisciplinary interaction. This interaction occurred between social and technological as well as art branches. The relationship of cinema with other art branches has been evaluated many times in terms of form and content. The comic book adaptation "Spider-Man: Into the Spider-Verse", which was released in 2018, stands out with its unique visuality among mainstream feature animation films. References to the narrative language of Comic Book constitute the basic visual

C ada determinado tiempo, Marvel (o DC, que para el caso es lo mismo) necesita reinventarse para atajar en cierta forma la sangría de lectores que los otros medios, más atractivos para los lectores más jóvenes, le hacen al cómic (televisión, videojuegos, internet). Esa permanente revisión de su imaginario ha provocado decenas de «reinicios» de su universo y de versiones alternativas de sus personajes, en la frenética lucha por adaptarse a los tiempos que corren y no quedarse atrás. Si hace un tiempo era el turno de El Motorista fantasma, reconvertido para la ocasión en El piloto fantasma, hoy nos ocupa el caso de Ms. Marvel.

"La ficción tiene mucho poder y no se puede hacer de ella un panfleto" Paco Roca habla de su último trabajo 'La Casa' y reflexiona sobre su experiencia como creador Una de las contribuciones más extraordinarias al impulso de la novela gráfica en España en los últimos años es, sin ninguna duda, la de Paco Roca (Valencia, 1969), un autor que desde la publicación de su obra Arrugas (2007) ha alcanzado un éxito notable dentro y fuera de nuestras fronteras. Coincidiendo con su paso por Valladolid para presentar su último trabajo La Casa (Astiberri, 2015), en la librería La Parada de los Cómics, últimoCero ha podido mantener una conversación con él. En ella, reflexiona sobre su libro y sobre algunos otros aspectos relacionados con su experiencia como creador. Las tareas de guionista o de dibujante de cómic son por sí solas muy meritorias. Guionistas como Antonio Altarriba o dibujantes como David Aja constituyen en el tiempo actual verdaderas cumbres creativas de la novela gráfica. Ahora bien, reunir-como en su caso-ambos perfiles en una sola persona, da la sensación de ser casi una conjunción astral. Todas sus obras en general y, en particular, alguna como Las Calles de Arena, delatan a un escritor de raza, que juega con suma soltura con referencias literarias, artísticas, filosóficas o científicas… pero, al mismo tiempo, demuestran una maestría técnica alucinante a la hora de dibujar. ¿Qué hay que saber de Paco Roca, que aún no sepamos, para explicar esta equilibrada proporción de genio tanto en la escritura como en el dibujo? En mi caso, creo que esta circunstancia tiene que ver con mis orígenes profesionales. A la novela gráfica, llegué a partir de mis trabajos previos como dibujante en el mundo del cómic y tras muchos años dedicado a la creación en publicidad. La experiencia que ambas cosas me han proporcionado me ha hecho sin duda ser muy versátil. Cuando hacía publicidad, me dedicaba ante todo a hacer ilustraciones. En esa época, mi socio-una persona con la que conviví prácticamente desde los 17 años-era escritor y se dedicaba a la ciencia ficción y a la novela histórica. De él aprendí muchísimas cosas sobre la escritura, la narración, la novela… Desde luego, me di cuenta de que para saber cómo planificar una historia había que leer a Nombre de usuario Contraseña

(pp. 17-24)  Although paving the continuity road towards 'The Avengers', 'Captain America: The First Avenger' is as interesting for the ways in which it differs from the previous four Marvel Cinematic Universe (MCU) films as for its similarities and connections with them. Fittingly, at the heart of the film is the notion of mould-breaking, as the emergence of Captain America (Chris Evans) simultaneously heralds a new beginning for U.S. efforts in the Second World War, and the disappearance of a promised future army of Super-Soldiers with the death of scientist Abraham Erskine (Stanley Tucci) at Nazi hands. In Marvel comics, the status of Cap as a one-off is regularly foregrounded in the dynamic of his relations with other heroes; respecting this singularity, Cap's origin as an instrument to fight a specific war is developed by director and screenwriters in a way that accounts for the existential loneliness, as well as the matchless virtues of heart and courage, of the character.

“The Comics” is a recent development. It is also a characteristically American one that is one of the liveliest cultural offshoots of our slam-bang civilization. Although the wedding of pictures and text goes back to antiquity, the modern comic strip and its conventions is traced back to The Yellow Kid, which began in 1896, and The Katzenjammer Kids, which began in 1897.  This essay is about the cartooning of Peter Julius Rosendahl, who lived from 1878-1942, and made a major contribution to Norwegian-American literature. He created the uniquely Norwegian-American comic strip Han Ola og Han Per. A study of Mr. Rosendahl's work shows that comics may represent their time more honestly than literary work that is deliberately created to last. P.J. Rosendahl was one of the few American Norwegian writers who consistently used American English in Norwegian sentences as the fictional situation called for it, and apparently wrote it the way the readers spoke it. Another type of English-word use involves the alternation of short or long utterances in distinct languages. In linguistic terminology this is called “code-switching.” In Ola and Per code-switching usually means a switch from long stretches of Norwegian to shorter stretches of English, but there are also lesser transitions from Norse dialect to Dano-Norwegian, and vice versa. This pattern might be called “the American Norwegian mode of speaking.”

The author introdusces reportage as a general genere, and then discusses comics reportage in relation to both other forms of this genere and to fiction comics. The roles of the author and the narrator are discussed throught several examples. Finally, the material aspect of reportage comisc is presend as an important componet in making them more "realistic".

This book examines the place of Superman in American culture. It is an account of how and why Superman became an icon of American culture and an examination of how a fictional character has sustained that status for some eighty years. Figuring Superman as an icon of American culture is not a process of establishing some essential hallmarks of the character and then tracing these in each and every iteration of the character over the best part of a century. At any given time, or place, in his history, Superman is, and has long been, an amalgam of factors including myth, memory, nostalgia, intellectual property regimes like copyright and trademark, authors, readers, fans, collectors, comic books, comic strips, radio series, movie serials, television shows, animation, toys and collectibles, and feature films. This book shows that an understanding of Superman requires addressing the way these factors figure into any negotiation of Superman's character. Superman's longevity and popularity are not simply reliant on a multiplication of representations across different media. Although this preponderance of representations is important in understanding Superman's popularity, so too are the tropes, such as nostalgia, mythology, and ideology, deployed in Superman's appearance across media. Each Superman media form is an opportunity to marry individual memory to collective memory through a narrative. In part, Superman is an icon because of the sheer amount of material and the competition over which memories are essential to the character. I analyze Superman as a process, rather than as a static, fixed phenomenon. Nonetheless, there is a history to Superman and the character's rise to iconic status. Creating Superman Jerry Siegel and Joe Shuster's Superman first appeared in comic books in Action Comics #1 (June 1938). Not yet fully formed in his first appearance, Superman nonetheless had a dual identity as Clark Kent, worked as a journalist, wore a blue-and-red uniform with a chest insignia, and dated Lois Lane. Superman rapidly became extremely popular with comic book readers and with a more general audience. So popular was the character that by June 1941, the Saturday Evening Post, then one of the most widely circulated magazines in America, carried a long feature article on Superman and his creators. Popularity, though, did not equal iconic status, and the piece by John Kobler presented Superman and his creators in a dismissive tone. The "short, plump, heavy spectacled" Jerry Siegel, who stuck "four or five candy bars in his pockets at the cinema, " suffered Kobler's ridicule. If the creator of Superman seemed a boob, it was nevertheless hard to deny the success of the character, who by 1941 appeared in the monthly Action Comics and the bimonthly Superman comic book, a radio serial aired three times a week, and a comic strip carried by 230 newspapers to a combined circulation of twenty-five million readers. In Christmas 1940, 100,000 children paid thirty cents to view Macy's Superman exhibit, there were 250,000 members of the Supermen of America Club, and Paramount Pictures was set to release twelve Fleisher-animated adventures in late 1941. The tone of Kobler's piece suggested that somehow Siegel and Shuster, seeking "psychological compensation" through projecting infantile fantasies, in combination with the sharp business practices of distributor Harry Donenfeld of Independent News and his general manager, Jack Liebowitz, had, at least according to the intellectuals, created "the first authentic cultural hero since Paul Bunyan. " It was little matter that Kobler thought Siegel and Shuster unable ever to understand the Nietzschean philosophy through which the New Republic magazine analyzed their character; Superman had such an appeal that a cockney boy in London during a heavy air raid scarcely noticed it, so engrossed was he in a Superman comic. 1 But intense media presence and an array of licensed products do not alone turn a character into an icon. Creating the Icon Superman became an American icon through circumstance and management. The syndication of a Superman comic strip and DC's deci

Indigenous ways of knowing for many Indigenous communities traditionally relied on experiential learning and oral tradition, unlike a Western-modeled school system (based on a curriculum); however, Indigenous groups post-contact have adapted traditional Indigenous ways of knowing to contemporary colonial pedagogies. Most recently, the use of comics have increased as a method to disseminate Indigenous knowledge, cultures, and stories to the body populous. Many Indigenous cultures used different medians to share their culture, spiritualty, and identities. Wintercounts, petroglyphs, and carvings are just a few of the ways. This paper explores the use of comics, using examples from MOONSHOT: The Indigenous Comics Collection Volumes 1 and 2 as an innovated Indigenous pedagogy, and its contribution in combating colonialism by reaching beyond communities to educate not only Indigenous people, but non-Indigenous people as well.

“Maus: a survivor’s tale” es una novela gráfica que no llega a ser ni del todo ficcional, ni del todo autobiográfica. El principal hilo narrativo encuentra a Artie entrevistando a su padre, Vladek, un judío polaco superviviente de Auschwitz, sobre sus recuerdos tanto relacionados al holocausto como a la historia familiar…

Collected in the latest issue of Minchō Magazine, this is an article on the work of the French-Jewish comic-book author and filmdirector, Joann Sfar. The complete issue is dedicated to monsters and their depiction in the world of arts, especially in the field of illustration. The article presents an overview on the humane universe that Joan Sfar has created for his own monsters to dwell. The magazine can be found here: http://minchomag.com/issue-13/

Resumo: Lançada em 2008 pela editora Dark Horse Comics, a HQ Umbrella Academy narra, em três volumes, a história de seis crianças dotadas de habilidades especiais, adotadas pelo excêntrico milionário, Reginald Hargreeves. Após uma elipse temporal de trinta anos as personagens se reúnem novamente na Mansão Hargreeves para o funeral do patriarca e investigar a causa que o levou a óbito. O primeiro volume "A Suíte do Apocalipse" foi adaptada para o formato audiovisual pela Netflix. O objetivo desse artigo é analisar as convergências e divergências entre a cenografia da HQ e a da narrativa seriada. Estabelecemos como recorte três cenas: Base Lunar, residência de Spaceboy​ , o escritório de Reginald Hargreeves e a cafeteria Costello's. Selecionamos como método o estudo do caso (Robert Yin), para realizar a desconstrução das cenas e determinamos as seguintes categorias: planos, enquadramentos, cores e objetos de cena. Os autores que fundamentam o estudo são: Will Eisner, como base para a linguagem quadrinística, David Bordwell e Marcel Martin, para os estudos da linguagem cinematográfica, Georgina Shorter, Gerald Millerson e João Batista Cardoso, para respaldar os aspectos cenográficos. Como resultados observamos diferença na paleta de cores, utilização de ângulo neutro na HQ, objetos cênicos numerosos na série, entre outros. O artigo contribui para os estudos relacionados à adaptação e linguagem cinematográfica. Palavras-chave: Objetos de cena, Planos, Paleta de cor

¿Por qué hacen reír los programas cómicos? ¿Cómo operan sus imágenes y sonidos para promover la risa o el disgusto? ¿Qué cambios tuvieron desde la década del 60? ¿Cuáles son las razones por las que actualmente están desapareciendo? Estas son algunas de las preguntas que guían las exploraciones de este libro. Un recorrido que comienza cuando los programas cómicos alcanzaban 60 puntos de rating y termina cuando solo dos sobreviven en la pantalla. En ese lapso apareció el control remoto, la televisión por cable, la videocasetera, internet, YouTube, Facebook, Twitter, etc. Muchas cosas cambiaron, entre ellas, una expansión, como nunca antes, de lo risible mediatizado. Hoy difícilmente pasemos un día sin toparnos con un meme o un video cómico. En este contexto, el género que fundó lo reidero televisivo está muriendo. ¿Eso implica que mueren también sus modos de hacer reír? Para responder esto, primero hay que conocer sus operaciones

Why do comic TV shows laugh? How do their images and sounds operate to promote laughter or disgust? What changes have they had since the 1960s? What are the reasons why they are currently disappearing? These are some of the questions that guide the explorations of this book. A tour that begins when the comic programs reached 60 rating points and ends when only two survive on the screen. During this period, the remote control, cable television, VCR, internet, YouTube, Facebook, Twitter, etc. appeared. Many things changed, among them, an expansion, as never before, of the laughable mediatized. Today we hardly spend a day without running into a meme or a funny video. In this context, the genre that founded the television reidero is dying. Does that mean they also die their ways of making people laugh? To answer this, we must first know their operations

Media portrayals of comic book fandom routinely depict the comics community as a masculine space, one in which the female fan is an anomaly. Yet, women reportedly represent a growing number of comic book purchasers and convention attendees. If women are, in fact, such a large contingent of the comic book fan community, then why do these gendered stereotypes of female fans persist? Moreover, why do we continually see narratives about the ‘exotic’ female comics fan if women are such a large population within comics culture? I theorise that many female comic book fans render themselves invisible in the comics community out of fear of stigmatisation, from both non-comics fans as well as male members of comics fandom. Drawing on the work of Erving Goffman, I use semi-structured interviews to explore how female comics fans in the United States experience fandom as members of a culture that is coded as masculine.

One of Art Spiegelman’s motivations for using animal forms for the characters in the two volumes of Maus was to depict the dehumanization of the Jews during the Holocaust and as well the inhuman behavior of the Nazis and people of other nations. There is another side to this dehumanization in Maus that we will explore, namely what Deleuze and Guattari (D&G) call “becoming animal,” which is a mode of social and personal transformation undergone for the sake of survival and vitality and obtained through adaptation and mutation. D&G use Spinoza’s account of bodily composition and affective alteration to explain how threatening influences can push people and their groups into a temporary state of anonymity. While under this mode of indeterminacy, new arrangements and compositions may freely form and dissipate, which allows them to effectively survive, evade, and subvert the intruding powers. D&G further elaborate these notions of “becoming-animal” and the formation of anonymous “packs” by utilizing their concept of the “machinic assemblage,” whose parts reconfigure in order to disrupt or “minorize” the machinery of the larger system. This minorization operates as well on the level of language, where the minor group works within the major language system to undermine their oppressor’s regime of signs and values. Maus for example adopts the visually metaphoric language that presented the Jewish people in rodent form, as seen for instance in the Nazi propaganda documentary The Eternal Jew (Fritz Hippler, Der Ewige Jude, 1940), which depicts the Jews as rats infesting the entire world. But by shifting to mice and by drawing the Nazis as cats, Spiegelman evades the fixed meanings of the major visual language and introduces very different connotations and interpretations. Yet, one criticism of Spiegelman’s use of animal forms is that it sanitizes the horrors of the Holocaust and falsifies them by rendering them cute and harmless. I reply by including Maus under what D&G call a “minor genre,” in this case a particular kind of minor documentary. Filmed documentaries are rarely objective and unbiased, as we have seen already with the propaganda film The Eternal Jew’s distortions and misrepresentations. And Claude Lanzmann’s film Shoah (1985), instead of presenting any archival footage of the Holocaust, merely interviews survivors, witnesses and former Nazi SS officers to “document” the subjective realities internal to the events. Maus as well is based on the recorded interviews of a Holocaust survivor, but instead of providing objective depictions of the visual horrors in his experiences, it instead documents the existential experience of losing cultural and personal identity. And the horrors of this particular element of the events are more effectively and faithfully documented using animal forms.